Great New Archive Lets You Hear the Sounds of New York City During the Roaring 20s

in Archives, History, Life | December 11th, 2013

NewYorkNoiseComplaints

The French refer to the decade between 1920 and 1929 as les Années folles, “the crazy years,” which is apt when you con­sid­er how the French mid­dle and upper class­es gen­er­al­ly loos­ened their brassieres and defined mod­ern bohemia, à la Coco Chanel.

But the Amer­i­can moniker — the Roar­ing 20s — fits too. Near­ly every­thing about that decade roared: cars, jazz, man­u­fac­tur­ing, con­struc­tion.

Din, in fact, came to define the age, par­tic­u­lar­ly in big cities and espe­cial­ly in New York. An unnamed Japan­ese vis­i­tor was quot­ed upon his vis­it to that city in 1920: “My first impres­sion of New York was its noise. When I know what they mean, I will under­stand civ­i­liza­tion.”

A Prince­ton his­to­ry pro­fes­sor took that chal­lenge at face val­ue, while cap­tur­ing a broad­er indus­tri­al era. The Roar­ing Twen­ties is an audio (and to some extent video) archive of what New York City sound­ed like from 1900 to 1933. Pro­fes­sor Emi­ly Thomp­son and design­er Scott Mahoy have cre­at­ed a love­ly site that’s fun to explore. The archive includes a beau­ti­ful 1933 map of New York City loaded with links to noise com­plaints (screen­shot at top), com­plete with doc­u­men­ta­tion. New York had long been a place where peo­ple from all over the world lived on top of one anoth­er, but noise lev­els were shifting—getting loud­er and more var­ied, that is—and the city was inun­dat­ed with com­plaints about fer­ry whis­tles, radio shops, street traf­fic, the clat­ter of restau­rant dish­wash­ing, and all man­ner of con­struc­tion.

CityNoiseSourcesShot

Sen­si­tiv­i­ty to the city’s vol­ume was high. The city’s Noise Abate­ment Com­mis­sion mea­sured the “deaf­en­ing effect” of sound in Times Square. The women’s cafe­te­ria in the New York Life Insur­ance build­ing was designed with state-of-the-art acoustics to keep the noise of the city out and the sound of office work­ers in.

Cort­landt Street in low­er Man­hat­tan was lined with radio shops, each broad­cast­ing dif­fer­ent music. Don’t miss that video, which you’ll find by scan­ning the Space tab map.

You can also move through time on the site, lis­ten­ing to the city’s cacoph­o­ny from the ear­ly 1900s up to the 1930s, or browse a menu of noise sources from home sounds to the noise of the har­bors and rivers. Again, you can vis­it the The Roar­ing Twen­ties site here.

via i09

Relat­ed Con­tent:

Alan Lomax’s Music Archive Hous­es Over 17,400 Folk Record­ings From 1946 to the 1990s

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

The Chal­lenge of Archiv­ing Sound + Vision in the 21st Cen­tu­ry

Kate Rix writes about edu­ca­tion and dig­i­tal media. Fol­low her on Twit­ter.

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Hear King Edward VIII Explain Why He Abdicated The Crown For Love, 77 Years Ago Today

in History, Radio | December 10th, 2013

Sev­en­ty-sev­en years ago, in a move unprece­dent­ed since the Glo­ri­ous Rev­o­lu­tion of 1688, King-Emper­or Edward VIII abdi­cat­ed the throne. Today’s audi­ences will rec­og­nize the episode from The King’s Speech: less than a year after hav­ing ascend­ed to the British king­ship in Jan­u­ary of 1936, Edward became roman­ti­cal­ly entan­gled with a yet-to-be-divorced Amer­i­can socialite named Wal­lis Simp­son. As long as the King’s liaisons remained dis­creet, the cou­ple was afford­ed a respectable amount of pri­va­cy by the roy­al fam­i­ly and the British media. Things grew more com­pli­cat­ed, how­ev­er, when Simp­son divorced her sec­ond hus­band in Octo­ber of 1936, and the pair decid­ed to mar­ry, come hell or high water.

A King of the Unit­ed King­dom of Great Britain and North­ern Ire­land being wed­ded to a twice-divorced Amer­i­can socialite would have caused a furor. As the head of the Church of Eng­land, Edward could not mar­ry a divorced woman whose for­mer hus­band (let alone hus­bands) remained alive. Simpson’s first divorce proved even more problematic—it was grant­ed based on “emo­tion­al incom­pat­i­bil­i­ty,” and may not have been rec­og­nized under both Church and Eng­lish law. The King’s mar­riage to Simp­son also raised the pos­si­bil­i­ty of an Amer­i­can Queen, a sac­ri­le­gious idea in the eyes of his sub­jects.

Faced with a choice between the crown and his love, Edward VIII chose to step down. On Decem­ber 10, 1936, the King signed the fol­low­ing dec­la­ra­tion of abdi­ca­tion:

Edward_abdication

In the audio clip at the top of the post, Edward VIII takes to the radio waves to declare his abdi­ca­tion on Decem­ber 11. Brim­ming with hard­ly-con­tained emo­tion, Edward attempts to explain his rea­sons to the British peo­ple (read the full tran­script here):

“You all know the rea­sons which have impelled me to renounce the Throne. But I want you to under­stand that in mak­ing up my mind I did not for­get the coun­try or the Empire which as Prince of Wales, and late­ly as King, I have for twen­ty-five years tried to serve. But you must believe me when I tell you that I have found it impos­si­ble to car­ry the heavy bur­den of respon­si­bil­i­ty and to dis­charge my duties as King as I would wish to do with­out the help and sup­port of the woman I love.”

For those who had doubts about Simpson’s true feel­ings for the King (some sus­pect­ed her of car­ing only about the king’s mon­ey), the next 35 years would pro­vide suf­fi­cient proof. The pair remained mar­ried until Edward’s death in 1972.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

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Google’s Moving Ad About 1947 Partition of India & Pakistan Tops 10 Million Views

in Google, History, Television | December 9th, 2013

Recent­ly, Wired writer Steve Sil­ber­man (aka @stevesil­ber­man) shot us a note on Twit­ter, say­ing, “@openculture, do not miss this bril­liant ad. Most touch­ing movie (in 3 mins!) I’ve seen in years.” Released on Novem­ber 13th, the video has already clocked over 10 mil­lion views. But chances are you haven’t seen it. And that’s because it’s tar­get­ed to the web-enabled mid­dle class of India and Pak­istan. As The Dawn, Pak­istan’s old­est Eng­lish news­pa­per, describes it, the Google-cre­at­ed ad enti­tled “Reunion” “por­trays two child­hood friends, now elder­ly men, who haven’t seen each oth­er since they were sep­a­rat­ed by the 1947 par­ti­tion that cre­at­ed India and Pak­istan from the old British empire in South Asia. Par­ti­tion sparked a mass exo­dus as mil­lions of Mus­lims and Hin­dus fled across the new bor­ders amid reli­gious vio­lence.” Now Google search prod­ucts are help­ing to bring old friends and neigh­bors back togeth­er.

Cyn­ics may be quick to judge this a sac­cha­rine, manip­u­la­tive ad. But oth­ers are see­ing in it some­thing else — a sign that “per­son­al con­nec­tions between Indi­ans and Pak­ista­nis run deep.” Even if their gov­ern­ments gain some­thing from keep­ing the con­flict alive, every­day peo­ple in India and Pak­istan are increas­ing­ly ready to put his­to­ry aside.

Note: If you click CC at the bot­tom of the video, you can use cap­tions to trans­late the film into nine lan­guages, includ­ing French, Malay­alam and Urdu. It is pre­set to Eng­lish.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email orRSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

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Howard Zinn’s “What the Classroom Didn’t Teach Me About the American Empire”: An Illustrated Video Narrated by Viggo Mortensen

in Comics/Cartoons, History | December 9th, 2013

“Through­out U.S. his­to­ry, our mil­i­tary has been used not for moral pur­pos­es but to expand eco­nom­ic, polit­i­cal, and mil­i­tary pow­er,” says a car­toon Howard Zinn in Mike Konopacki’s 273-page com­ic book A People’s His­to­ry of Amer­i­can Empire. Writ­ten with Zinn and his­to­ri­an Paul Buh­le, the book adapts Zinn’s path­break­ing his­to­ry from below, A People’s His­to­ry of the Unit­ed States, and his auto­bi­og­ra­phy You Can’t be Neu­tral on a Mov­ing Train in a direct exam­i­na­tion of the U.S. Imperi­um. Konopac­ki calls the book his “answer” to the text­books of “the pow­er struc­ture.” (Explore high­lights from the com­ic his­to­ry here.)

Above, you can see a short video adap­ta­tion of some key text from A People’s His­to­ry of Amer­i­can Empire. Nar­rat­ed by Vig­go Mortensen, the video gives us a nut­shell ver­sion of Zinn’s cul­tur­al, polit­i­cal, and moral education—what the Ger­mans used to call bil­dung—as he grows from a some­what naive WWII bomber pilot, to a col­lege stu­dent on the G.I. Bill, to a grad­u­ate stu­dent, then pro­fes­sor, of his­to­ry.

Along the way he notices that the map in every text­book labeled “West­ern Expan­sion” shows “the march across the con­ti­nent as a nat­ur­al, almost bio­log­i­cal phe­nom­e­non”:

That huge acqui­si­tion of land called the Louisiana Pur­chase gave no hint of any­thing but vacant land acquired, no sense that this ter­ri­to­ry was occu­pied by hun­dreds of Indi­an tribes that would have to be anni­hi­lat­ed or forced out of their homes in what we now call eth­nic cleans­ing.

Zinn goes on to chart the rise of U.S. Impe­ri­al­ism into the twen­ti­eth cen­tu­ry as the increas­ing­ly mil­i­ta­rized nation seizes Mex­i­can ter­ri­to­ry and invades Cuba and the Philip­pines. Then we come to the osten­si­bly anti-com­mu­nist “police actions” in Korea and Viet­nam, and Zinn’s high­ly influ­en­tial 1967 book Viet­nam: The Log­ic of With­draw­al. When entrust­ed by Daniel Ells­berg with hun­dreds of pages of the Pen­ta­gon Papers, Zinn learns that the war in Viet­nam is large­ly waged for the same rea­sons as our oth­er impe­ri­al­ist moves abroad: the papers “spoke blunt­ly of the U.S. motives as a quest for tin, rub­ber, oil.”

But what of the war Zinn begins with, the war in which he fought? Near the end of the short film, he returns to his days as a WWII bomber, when he heard a fel­low pilot argue that the U.S. was as “moti­vat­ed by ambi­tions of con­trol and con­quest” as its ene­mies. He dis­agreed at the time, but in the inter­ven­ing years came to see his fel­low airman’s point. What we get with our ide­al­ism about any war, Zinn says, is a seem­ing “Impe­ri­al­ism lite,” whose motives are benign. Soft pow­er, we’re told, wins the day now. But peel back the cur­tain on our actions in the world, and we will see the same atroc­i­ties, the same cru­el­ties, and the same basic moti­va­tions as every oth­er act of impe­ri­al­ist aggres­sion.

Relat­ed Con­tent:

Howard Zinn Dies at 87

Wel­come to the Plu­toc­ra­cy! Bill Moy­ers Presents the First Howard Zinn Lec­ture

Pulitzer Prize Win­ner Picks Essen­tial US His­to­ry Books

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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The Pulp Fiction Archive: The Cheap, Thrilling Stories That Entertained a Generation of Readers (1896–1946)

in Archives, Art, Books, Comics/Cartoons, History | December 8th, 2013

Phantm_d

For the first half of the twen­ti­eth cen­tu­ry, pulp mag­a­zines were a quin­tes­sen­tial form of Amer­i­can enter­tain­ment. Print­ed on cheap, wood pulp paper, the “pulps” (as opposed to the “glossies” or “slicks,” such as The New York­er) had names like The Black Mask and Amaz­ing Sto­ries, and promised read­ers sup­pos­ed­ly true accounts of adven­ture, exploita­tion, hero­ism, and inge­nu­ity. Such out­lets offered a steady stream of work for sta­bles of fic­tion writ­ers, with con­tent rang­ing from short sto­ries about intre­pid explor­ers sav­ing damsels from Nazis/Communists (depend­ing on the pre­cise time of pub­li­ca­tion) to nov­el-length man vs. beast accounts of courage and cun­ning. This, inci­den­tal­ly, gave birth to the term “pulp fic­tion,” pop­u­lar­ized in the 1990s by Quentin Tarantino’s epony­mous film.

In the 1950s, the pulps went into a steep decline. In addi­tion to tele­vi­sion, paper­back nov­els, and com­ic books, the pulps were over­tak­en by the more explic­it, and even low­er brow men’s adven­ture mag­a­zines (read­ers of Tru­man Capote’s In Cold Blood may remem­ber Per­ry Smith, the socio­path­ic mis­fit who mur­dered the Clut­ter fam­i­ly, being an enthu­si­as­tic read­er of these ear­ly lads’ mags). Thanks to The Pulp Mag­a­zines Project, how­ev­er, many of the most famous pub­li­ca­tions remain acces­si­ble today through a well-designed online inter­face. Hun­dreds of issues have been archived in the data­base that spans from 1896 through to 1946. It includes large mag­a­zines, such as The Argosy and Adven­ture, and small­er, more spe­cial­ized fare, such as Air Won­der Sto­ries and Bas­ket­ball Sto­ries. Although good writ­ing occa­sion­al­ly made its way into the pulps, don’t expect these mag­a­zines to mir­ror the lit­er­ary depth of seri­al­ized pub­li­ca­tions of the 19th cen­tu­ry; rather, the archive pro­vides a ter­rif­i­cal­ly enter­tain­ing look at the pop­u­lar read­ing of ear­ly 20th cen­tu­ry Amer­i­ca.

To browse the com­plete data­base, head over to The Pulp Mag­a­zines Project.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Quentin Taran­ti­no Gives Sneak Peek of Pulp Fic­tion to Jon Stew­art (1994)

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

Did Shake­speare Write Pulp Fic­tion? (No, But If He Did, It’d Sound Like This)

Down­load 14 Great Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books and Free eBooks

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Nelson Mandela’s First-Ever TV Interview (1961)

in History, Life | December 5th, 2013

Note: This post was orig­i­nal­ly fea­tured on our site in 2010. In light of the news that Nel­son Man­dela has passed away at age 95, we’re bring­ing this vin­tage clip back to the fore. Here you can see a young Man­dela mak­ing his­to­ry, and with­out per­haps real­iz­ing it, build­ing the remark­able lega­cy that remains with us today.

In 1962, Nel­son Man­dela was arrest­ed on alle­ga­tions of sab­o­tage and oth­er charges and sen­tenced to life in prison, where he spent 27 years before becom­ing South Africa’s first pres­i­dent elect­ed in a ful­ly demo­c­ra­t­ic elec­tion. His sto­ry, among mod­ern his­to­ry’s most pro­found­ly inspi­ra­tional, is beau­ti­ful­ly and poet­i­cal­ly cap­tured in Clint East­wood’s 2009 gem, Invic­tus. But what East­wood’s account leaves out are the events that pre­ced­ed and led to Man­de­la’s arrest.

In May of 1961, a 42-year-old Man­dela gave his first-ever inter­view to ITN reporter Bri­an Wid­lake as part of a longer ITN Rov­ing Report pro­gram about Apartheid. At that point, the police are already hunt­ing for Man­dela, but Wid­lake pulls some strings and arranges to meet him in his hide­out. When the reporter asks Man­dela what Africans want, he prompt­ly responds:

“The Africans require, want the fran­chise, the basis of One Man One Vote – they want polit­i­cal inde­pen­dence.”

But per­haps more inter­est­ing is the dia­logue towards the end of the inter­view, where Man­dela explores the com­plex rela­tion­ship between peace and vio­lence as protest and nego­ti­a­tion tac­tics. We’re left won­der­ing whether his seem­ing­ly sud­den shift from a com­plete­ly peace­ful cam­paign strat­e­gy up to that point towards con­sid­er­ing vio­lence as a pos­si­bil­i­ty may be the prod­uct of South African police going after him with full force that week. Vio­lence, it seems, does breed vio­lence even in the best and noblest of us.

Relat­ed Con­tent:

Nel­son Man­dela Archive Goes Online (With Help From Google)

The Nel­son Man­dela Dig­i­tal Archive Goes Online

U2 Releas­es a Nel­son Man­dela-Inspired Song, “Ordi­nary Love”

Maria Popo­va is the founder and edi­tor in chief of Brain Pick­ings, a curat­ed inven­to­ry of eclec­tic inter­est­ing­ness and indis­crim­i­nate curios­i­ty. She writes for Wired UK, GOOD Mag­a­zine, Big­Think and Huff­in­g­ton Post, and spends a dis­turb­ing amount of time curat­ing inter­est­ing­ness on Twit­ter.

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Virginia Woolf Loved Dostoevsky, Oscar Wilde Sometimes Despised Dickens & Other Gossip from The Reading Experience Database

in History, Literature | December 5th, 2013

woolf dost

The Read­ing Expe­ri­ence Data­base (RED), host­ed by the Open Uni­ver­si­ty, pro­vides a vast, open-access com­pendi­um of British authors’ read­ing habits from 1450 through 1945. The resource is a con­tin­u­ous­ly updat­ed repos­i­to­ry of lit­er­ary ref­er­ences, com­piled using excerpts of biogra­phies, let­ters, news­pa­pers, mag­a­zines, and oth­er infor­ma­tive texts. Among oth­er things, the data­base pro­vides both a humor­ous and fas­ci­nat­ing look at what var­i­ous authors thought of their peers.

Vir­ginia Woolf, it seems, cham­pi­oned Fyo­dor Dos­to­evsky (“It is direct­ly obvi­ous that he [Dos­to­evsky] is the great­est writer ever born.”), but spurned Hen­ry James (“… we have his works here, and I read, and can’t find any­thing but faint­ly tinged rose water, urbane and sleek, but vul­gar…”). Robert Louis Steven­son, a friend of James’, was too con­flict­ed about some of his writ­ing (“I must break out with the news that I can’t bear the Por­trait of a Lady. I read it all, and I wept, too; but I can’t stand your hav­ing writ­ten it, and I beg you will write no more of the like”). Oscar Wilde, mean­while, char­ac­ter­is­ti­cal­ly con­trar­i­an, despised cer­tain aspects of Dick­ens (“peers were sur­prised to hear him speak dis­parag­ing­ly of Dick­ens, the most pop­u­lar nov­el­ist of the day. While Wilde admired the author’s humor and his gift for car­i­ca­ture he loathed Dick­en­s’s mor­al­iz­ing”).

Don’t see your favorite British author’s delight­ful­ly snarky com­men­tary? Help your fel­low read­er and sub­mit it your­self.

To learn more about the Read­ing Expe­ri­ence Data­base, watch this intro­duc­to­ry video.

Relat­ed Con­tent:

Vir­ginia Woolf Writes About Joyce’s Ulysses, “Nev­er Did Any Book So Bore Me,” and Quits at Page 200

The His­toric Meet­ing Between Dick­ens and Dos­to­evsky Revealed as a Great Lit­er­ary Hoax

Vladimir Nabokov Makes Edi­to­r­i­al Tweaks to Franz Kafka’s Novel­la The Meta­mor­pho­sis

Stephen Fry Reads Oscar Wilde’s Children’s Sto­ry “The Hap­py Prince”

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See the Original Magazine Publication of Heart of Darkness and Other Great Works by Joseph Conrad

in History, Literature | December 4th, 2013

Blackwood's_Magazine_-_1899_cover

Like many oth­er nov­el­ists of his era, Joseph Con­rad began by pub­lish­ing his work in seri­al­ized mag­a­zines. Nov­el seri­al­iza­tion, which had first gained pop­u­lar­i­ty and com­mer­cial appeal with Charles Dick­ens’ Pick­wick Papers in 1836, was com­mon­place through­out the 19th cen­tu­ry. By the time that Con­rad released his first nov­el in 1895, enti­tled Almayer’s Fol­ly, pub­lish­ing seri­ous work with­in the pages of week­ly lit­er­ary peri­od­i­cals had become de rigueur. Indeed, Scribner’s Month­ly mag­a­zine not­ed that it is the “sec­ond and third rate nov­el­ist who could not get pub­lished in a mag­a­zine and is oblig­ed to pub­lish in a vol­ume, and it is in a mag­a­zine that the best nov­el­ists always appear first.” Although Scrib­n­er’s claim doubt­less con­tains an ele­ment of self-pro­mo­tion, one can­not deny that it is pre­cise­ly through seri­al­ized pub­li­ca­tion that Con­rad  joined the ranks of lit­er­ary greats such as Alexan­dre Dumas, Hen­ry James, Gus­tave Flaubert, and Leo Tol­stoy.

Through the web­site Con­rad First: The Joseph Con­rad Peri­od­i­cal Archive, con­tem­po­rary read­ers can enjoy the orig­i­nal, dig­i­tized ver­sions of Conrad’s first edi­tions. The data­base, which holds some 80,000 images and links to over a hun­dred peri­od­i­cals, includes the orig­i­nal releas­es for Conrad’s many nov­els, includ­ing Heart of Dark­ness (1899, Black­wood’s Mag­a­zine), Lord Jim (1899, Black­wood’s Mag­a­zine), Nos­tro­mo (1904, T.P.‘s Week­ly), and The Secret Agent (1906, Ridg­way’s Mag­a­zine), as well as essays, such as Rud­yard Kipling: A Crit­i­cism on His Poems and A pro­pos of Alphonse Daudet. For those more inter­est­ed in house­hold goods of yore than Con­rad’s prose, these pages will also prove enjoy­able; ads for the Har­lene Rem­e­dy for Bald­ness and requests implor­ing read­ers to Employ British Labour abound.

Relat­ed Con­tent:

Alfred Hitch­cock Adapts Joseph Conrad’s Nov­el of Ter­ror­ism in Sab­o­tage (1936)

Lis­ten as Orson Welles Reads ‘The Secret Shar­er,’ by Joseph Con­rad

We Were Wan­der­ers on a Pre­his­toric Earth: A Short Film Inspired by Joseph Con­rad

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